Pera - Sevgilim İyi Ki Doğdun - Chord

Key C major – A minor Chords Am, Em, F, G Difficulty already in its easiest key

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Capo 0

Am                             Em
Her zaman çiçekler açar da bugünkü bir başka
Am                              Em
Her sabah güneş yine doğar da bugün doğan bir başka
          F   
Sıcağı başka yanışı başka
         G            
Sarılıp beni ısıtır aşkla
F                    G
Duruşu başka sevişi başka

Am                         Em
Her yanım sarılsa acıyla içim bugün bir başka
Am                     Em
Her gelen hoş gelir elbet onun gelişi başka
         F
Bakışı başka gülüşü başka
       G                    F
Ruhuma dokunup öper beni aşkla
       G
Gizemi başka tılsımı başka

Am          Em
Bugün ne güzel bir gün
           F               G
İyi ki gördüm iyi ki sevdim seni
Am         Em                F
Sanki unutmuş gibisin iyi ki doğdun
G                   Am
Senin doğum günün bugün
    Em
Ne güzel bir gün
        F             G 
Bir dilek tut o güzel kalbinde
Am              Em      F
Yerim değişmesin her daim
G                 Am   Em   F   G
Sevgilim iyi ki doğdun

Am                        Em
Gel zaman gitme başımdan onun yanı bir başka
Am                       Em
Aldığım her bir nefeste onun soluğu başka
          F
Gözleri başka sözleri başka
  G                F
Bana koşup sarılır telaşla
                          G 
Mutluyum diyor gözünde biraz yaş ve kalbinde aşk

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Pera - Sevgilim İyi Ki Doğdun Tabs

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Harmony analysis

Pera – Sevgilim İyi Ki Doğdun: key and chord analysis

The song opens on Am and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 11 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	11×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	11×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	11×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	11×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	11×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×11
G Am CV → videceptive cadence AmVII → iAeolian arrival ×7
Em Am Ciii → vi Amv → inatural-minor cadence ×3

The move to watch is F → G, heard 11 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Em, F, G; read them as vi–iii–IV–V in C or i–v–VI–VII in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on G, letting the C side have the last word.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.